For those decrying the high cost of color film processing, please note that Andrew at:
https://www.needfilmdeveloped.com/
advertises bare-bones C-41 processing of 110 film (and of course, 16mm submin rolls) at US$3.00 per film,
yep, 3 bucks. He is, however not terribly speedy as this is a side hack that he and his wife run on weekends (but they do take vacations of a week or so). He advertises a couple week turn-around time generally. Quality is at least as good as at home, better than that certain brand of 2 solution C-41.
This $3 deal is barebones processing: no prints, no scans. He does make prints and several levels of scans at extra costs. He advertises C-41 135 rolls at US$5 with low resolution scanning (OK for the ‘Net, FaceBook, proofing, etc.). He also does 120, ECN-2, and slides. And he sells film about as cheap as anywhere in the world, but stocks are often limited. Even single-use 35mm.
So I ask you, where can you get a C-41 roll developed for $3-$5?
Terry
Here's a draft set of how I reload 110 cartridges:
Reloading used 110 cartridges 2025010001
First Draft
Before you begin your 110 reloading career, I suggest a thorough search and review of the YouTube videos on the subject. Also check
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and SubClub.org. The present tutorial is provided because no single one of those videos fit my desired practice, and some include wrong, out of date, and/or misleading information. You may wish to review those videos and these thoughts before proceeding.
Part 1 This is how to remove a 110 film from the cartridge without damaging the cartridge.
When reaching the last frame, advance the film twice and STOP! There will be a short end of film sticking out into the exposure area of the cartridge, and the black backing paper tail end will likely remain in the supply chamber (opposite end from the geared takeup chamber). Using a thin object, insert it through the film number aperture and press the paper from the cartridge somewhat so you can slip a pen or the like between the paper and the cartridge's side rails. Then pressing the film end tightly against the backing paper and inside the cartridge, completely remove the paper end from supply chamber, being careful to NOT pull the film out. When the paper end is free, grasp both the film end and the paper together tightly and pull them both from the takeup chamber - being CERTAIN to pull them together. Failure to do so will cause the paper or film to bunch up inside the takeup chamber, either scratching the film or requiring the cartridge to be destroyed to open and free the film. The start end of the film will come free of the takeup chamber and the backing paper will remain unmoved in the takeup chamber. Then you can develop the film. This leaves the 110 cartridge ready for disassembly so that it can be reloaded with16mm wide film and reused in many 110 cameras. See:
Submini-L.groups.io and
SubClub.org for more information. Note that if the film is wound into the takeup chamber a special procedure is required to remove it without destroying the cartridge. That’s another tutorial, not yet written…
This film removal technique is shown on YouTube video:
https://www.youtube.com/watch?v=9PAUe1kyWWA beginning at about the 5 minute mark. NOTE that until you remove the film from the cartridge you don’t need to be in the absolute dark, merely low light but where you can still see what you are doing. I cannot overemphasize, however, that to remove the film from the cartridge you must be in absolute darkness. In this video at about 6 minutes he demonstrates pulling the film (only) from the cartridge.
DO NOT DO THIS! In my experience pulling only the film leads to the backing paper jamming everything up inside the takeup chamber and you’ve got a mess on your hands. The solution is to pull
both the film
and the backing paper out together. When the film is almost entirely extracted, it will come loose from the backing paper and easily slip out.
STOP pulling on the backing paper. In my practice, I nearly always reuse the backing paper and it is easiest to not remove it from the takeup spool.
Here’s a trick that sometimes works for removing a film that’s been drawn completely into the takeup chamber:
First insert about a half-inch of the end of a 4 inch strip of film into the takeup chamber. Then carefully and slowly use a toothpick or the like to continue winding the film around the takeup spool, observable by movement of the backing paper into the takeup chamber. Listen carefully as the film may make a quiet ‘snapping’ or ‘popping’ sound as the tail end rotates past the takeup chamber film opening. Then proceed to the next step. If you don’t hear this after a couple tries proceed anyway. While holding the short film strip from moving, pull gently and slowly on the backing paper. If the film end hasn’t exited after about 1-2 inches, wind the film up again and try once more. What you are trying to do is get the end of the short film strip to slip between the takeup spool and the end of the film so when the backing paper is pulled the film is restrained between the short strip and the backing paper and forced back out through the entrance of the takeup chamber. I give up after 4 or 5 tries and just beak the d#$%&^ed cartridge apart as more tries are likely a waste of time.
Now if you are developing your own film just load it onto your developing reel or store in a completely light-proof environment such as an all-black 35mm film container, a 16mm or 35mm bulk film can, or about three tight layers of kitchen aluminum foil.
If you’re sending film off to a lab for processing, you can use an all-black 35mm film container or about three layers of kitchen aluminum foil as mentioned. Be SURE to label it clearly so both you and the lab know that it is bare film and what kind it is. I use a label:
_______________________________
UNPROTECTED EXPOSED FILM
!!!OPEN IN DARKNESS ONLY!!!
Enclosed is _____________
( ) This is a C-41 process film
( ) This is an E-6 process film
( ) This film is __mm wide, the same as size ___ film
( ) This film is size 110 film
NOTE: the film is rolled up in an outer film holder
Remove and discard the outer holder
__________________________________
(Note: If you want to send your 110/16mm color films for processing, be sure to read the list of processing labs at:
https://www.facebook.com/groups/110filmphotography/permalink/1187167031878030). I use Andrew’s Analog Service Center where C-41 color 110 films have been processed at $2.50 per roll, unscanned, no prints. Try and beat that price!
Part 2 There are an incredible number of sources for film of 16mm width for reloading. I recommend just buying some, at least to start. The best and cheapest source I know is Joe McGloin at SubClub:
http://subclub.org/sponsors/goathil2.htm. His prices include shipping, but the postal rates he follows are out of date so I always include a little extra for shipping cost increases. Joe doesn’t sell my favorite 16mm cine film – ORWO UN54+ but his Ilford Delta 100 currently (January 2025) at $15.20 for 25 feet is a great place to start. That should give you about ten 24-exposure rolls, or about $1.52 per roll. Compare that with Lomography prices… Oh, the ORWO UN54 has gotten very hard to get lately, I guess it has gotten very popular.
With a bit more experience you may wish to slit wider film stocks to 16mm width for your 110 cartridges. Joe also sells custom slitters to prepare 110 widths from most any wider film stock, such as 35mm or 120 size. If you have access to 3D printing there are many free .stl files on Thingiverse.com and other sites, usually with good directions. The FaceBook Photo Film Slitters page:
https://www.facebook.com/groups/6556586211057711 has many do-it-yourself ideas as well, including how to slit 35mm film to 16mm width using only a matchbox and a couple razor blades. And of course, asking for ideas here is always a good idea.
Part 3 Opening the cartridge is easy with a little practice. If you damage your first cartridge don’t worry, save it for later experimentation. Even the clumsiest of us will likely only ruin a single cartridge to begin.
WARNING! Opening 110 cartridges involves use of very sharp tools, such as an Xacto or box knife. Watch those fingers! Don’t ask how I know this…
Some cartridges are alleged to be easier than others to open up. I think there’s a lot of variance on this even among the same brands. There are also manufacturing and other tolerance variations in the cartridges such that all three components of each should be kept together and not interchanged with any other cartridges. I assign a distinct number to the three components of each of my cartridges to avoid problems. Open the cartridges one at a time.
I do not rock the cartridges to break them apart as the first step. Too many lost cartridges. So the first step is to locate exactly the seams at the cartridge ends and slip a knife into and along the seam at each end to open or at least greatly weaken it. Next identify the small bulge at the bottom of the takeup chamber near the bridge between the two chambers. The bottom of the cartridge is defined here as the side where the gear protrudes within its housing. Carefully slip your knife point edge into the seam between the two housing pieces at this point and begin to carefully separate these housing pieces. The goal here is to avoid cutting into the top or bottom housing per se, just splitting along the seam. Slip them apart a bit all around the bottom of the takeup chamber. Now gently widen this gap until the takeup chamber end seal previously slit pops open. You may then gently pry the housing apart at this point, but many cartridges won’t slip apart yet. This next seam splitting is a bit tricky so proceed with a bit of caution. Identify the joint between the upper and lower housing on the supply chamber at the point furthest from the bridge portions/back of the cartridge. Using the point of the knife parallel with the seam, slip the knife point into the seam and open it up. The goal here is to again avoid cutting into the top or bottom housing per se, just splitting along the seam. Quite often the cartridge will now part into the two separate housing sections and the takeup spool will fall from the takeup chamber. Of course, not all cartridges are this easy! There is an overlap (for light seal purposes) of the top housing over the bottom housing. At the portion nearest the supply chamber slip the knife point a little way into this seam and draw the knife toward the takeup chamber. It may take a couple passes. Many cartridges are sealed along this joint either electronically or with glue and must be carefully separated. At this point the cartridge should be fully opened and salvaged for reuse. You are on your way to saving $$ on reloaded cartridges
Part 4 Preparing your cartridge for reloading
The file “Preparing a notched 110 film cartridge for use in certain 110 cameras” has been revised on 20250110 for this screed. Get this latest copy from the “files” section here on FaceBook.
Part 5 Putting film into the 110 cartridge
There are two basic ways to load film into cartridges: in a darkoom (absolutely, totally, can’t-see-your-hand-in-front-of-your-face dark after ten minutes) and in a dark bag. There are advantages and disadvantages to both. Not everyone has a darkroom, and a dark bag is much cheaper to add. In a darkroom there’s lots more room and much greater efficiency, while in a dark bag it is cramped and you’re probably limited to cutting, preparing, and loading one cartridge at a time. I use a dark bag and it now takes about 5 minutes a cartridge to measure, roll, and load the cartridge.
You will need a ‘twizzle stick’ to wind the film. I have made most of mine from ¼” wood dowel sticks cut to a convenient length. Thinner material works if you can cut a deep thin notch. Someone should design and print a 3D version for this. A thin notch is cut into the end of the stick. For this film notch I use a jeweler’s thin saw from Xacto and cut to a depth of about ¾”. Then I cut off one-half the diameter of the rod at the notch about ¼” from the tip. You will realize why when trying to slip the film end into the notch in the dark. I have a picture somewhere and will add it to this write-up if I find or replace it. BTW, the US ‘Dollar Tree’ stores often have short pieces of small wood dowel in the craft section. Also check hobby and craft stores. Before I got the Xacto saw I used a thin hacksaw blade. It helps if you have a way to hold the stick firmly while sawing into the end thereof.
Your hands are usually coated with naturally-occurring oils; these will leave indelible fingerprints on the film emulsion. I usually wash my hands in soapy water and thoroughly dry them just before starting to handle films. In any case handle the film as much as possible by the edges not the back or front faces. Some folks wear cotton gloves but that just doesn’t work for me. Your experience may vary.
Cut a bunch of narrow pieces of tape transversely such that each piece is about 1/8” to about 5/16” wide and about ½” to about ¾” long and temporarily store them somewhere handy.
In a darkroom, set up in individual areas each of your supplies with tools in another area. One or more low cardboard boxes of given size work well. Remember to turn out the lights (don’t ask…)!
Cut as many pieces of film to the needed length as you wish to load cartridges and store them in a light-tight container. Probably best to do the same length for each to avoid confusion in the dark. I use a 400-foot 35mm bulk cine film can because it has plenty of room and was available.
Here are some suggested lengths:
8 exposures12 inches
12 exposures14 inches
18 exposures24 inches
20 exposures26 inches
24 exposures30 inches
You can often get a couple extra exposures in a cartridge without any problems – several if you use a thinner base film like some microfilms or 120 films. Just add another inch for each extra frame.
Have the cartridge top, bottom, and spool pieces to hand. Bend the distal end of the film SHARPLY about 1/8” from the end such that it has a remaining terminal bend.
Time for another consideration concerning the camera and film you are using. You have likely already modified the film cartridge by cutting a shallow notch so it will work in most 110 cameras. Now recognize that some cameras need the film perforations to cock the camera shutter so you have to select a perforated film (e.g., cine stock) having perfs needed to catch the sensor/cocking arm. Some cameras need to avoid cine film perforations because they use a different spacing than commercial 110 films. And there may be cameras (such as where the perf sensor has been removed or disabled to permit reloaded films) where it doesn’t make any difference – and in these two situations place any cine perfs away from the path of the camera’s perf sensor so they don’t wrongfully ‘catch’ in the camera or don’t show in the picture frame.
So make sure the perfs, if any, are up or down as needed in the particular camera. This is accomplished easily by gently feeling along the film edge for perfs.
Hold the cartridge backing paper and the film, emulsion side in, together and insert the distal ends (that’s the tail end) of them together into the swizzle stick notch and pull the film until the fold catches on the exit side of the notch. Note here’s where doing it in the light a couple times before actually going in the dark can be helpful. The actual point along the end of the backing paper where the end of the film is to lie varies from one manufacturer to another. So you have to test to see where that point is when the film is rolled up to the beginning of the film, which is a point spaced somewhat apart from where the backing paper is adhered to the takeup spool. That’s usually about 2 to 3 inches at each end. This means that the backing paper is usually several inches longer than the actual film and the film is positioned approximately in the middle of the backing paper length. Just note that it may vary among different cartridges.
Now tightly wind up the film and backing paper together until couple inches or so of the film lies freely along the backing paper near the spool where it begins.
Place the rolled up paper and film into the feed chamber of the cartridge such that the perfs, if any, are properly positioned up or down and the film emulsion is on the side of the backing paper opposite the cartridge back. A short tail of film should remain outside the feed chamber; place the spool on the axle in the takeup chamber and wind the backing paper/fil combination together until the film just lies between the backing paper and spool. Join the cartridge top cover to the bottom cover and press firmly to ensure it is fully joined together. It will usually stay together unless handled roughly.
When the cartridge is loaded and assembled, in dim light, press down on the supply chamber faces to ensure it is tightly closed and apply tape the securely join the pieces. I use three pieces of tape about equally spaced around/along the seam. Others use two pieces, perhaps of greater width.
Part 6 Storage and completion
If you only have one camera and only want to use one film length and type you may be finished at this point. However, as previously discussed I label the film itself, the cartridge, and the container if used. Further, I enter the information for each reloaded film cartridge into a database for reference, using the simple ‘tables’ database function in my word processing program.
“Altoids” boxes, always useful, will neatly store two cartridges of 110 (two Minolta/Kiev, four Minox, two GAMI, etc.) film at a time and can be pretty well sealed against moisture with a band of electrical tape.
Now you’re finished; go have a refreshing drink to relax -- you’ve earned it!
